Planes, structures, and proportions are composed with the same rigor as sculptural works, yet the pieces are truly completed only when they are actually used. What he calls “beauty in use” refers not to a form that remains an object of contemplation, but to an aesthetic condition that emerges through bodily contact and the accumulation of time. Utility and beauty are not separate; his work seeks the point where function and form coexist as a single state. The exhibition reveals the structure of living through a space where various pieces of furniture and lighting are arranged like a single scene. Rather than simply viewing the works, visitors find themselves briefly inhabiting them.
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